Oral folk art history and wisdom of the people. Pre-literary period

Oral folk art (folklore) is a collection of works of art created by the people in the process of oral, collective, non-professional creativity based on traditions. Oral folk art includes a fairy tale, a heroic epic, proverbs and sayings, riddles, nursery rhymes, songs, etc. A fairy tale is a free retelling of a legend, an epic, just a story, somewhat simplified for perception, often devoid of some semantic aspects, supplemented by magic, miracles , mythical characters. The heroic epic (epics) is very reminiscent of a fairy tale, but unlike it, the epic contains not fictional, but real heroes (Ilya Muromets, Sadko, etc.). In the epic, the people sing of courage, courage, love for the Motherland. Proverbs and sayings are a spring of folk wisdom. They are
reflect life, customs, very often echo fairy tales. it
trusted for thousands of years form of preservation of edification among the people,
morals, teachings, commandments.

The basis of ancient Russian culture was oral folk art. The most vivid reflection in oral folk art is found Slavic mythology and most important historical events. So, fairy tales are replete with plots in which there are mythical creatures: mermaids, goblin, ghouls - representatives of different levels of the Slavic pantheon. The epics reflected specific historical facts and figures. Epics, a very original and extraordinary phenomenon of culture, give evidence of the cultural level of the masses, their education and literacy. There is a point of view on epics as a phenomenon of folklore, reflecting the most general processes social and political life, but on epic heroes as combining different chronological layers. But there is no reason to attribute the epics to a certain epic period earlier than the era of Kievan Rus. As stated in recent times(I.Ya. Froyanov, Yu.I. Yudin), epics quite adequately reflect democratic system Kievan Rus. The most famous is the heroic epic cycle, in which folk heroes, defenders of Russia - Ilya Muromets, Dobrynya Nikntich, Alyosha Popovich and others.

Connected with the fight against the Mongol-Tatars further development oral folk art. In the epic epic, almost no new plots appeared, but it was rethought. The Pechenegs and Polovtsy of ancient Russian epics now began to be identified with the Tatars, they began to be portrayed as stupid, cowardly, boastful rapists, and Russian heroes - smart, courageous, "very" defenders of Russia. By the XIV century. refers to the emergence of a new folk genre - the historical song. An example of this is "The Song of Shchelkan Dudentevich". It deals with the specific events of 1327 in Tver - the anti-Horde uprising of the townspeople.

Folklore of the 16th century differs from the previous one both in type and in content. Along with the existence of genres of previous eras (epics, fairy tales, proverbs, ritual songs, etc.), in the 16th century. flourishes the genre of historical song. Historical legends were also widespread. Songs and legends were usually dedicated to the outstanding events of that time - the capture of Kazan, the march to Siberia, wars in the West, or outstanding personalities - Ivan the Terrible, Yermak Timofeevich.

The historical song about the campaign against Kazan sings of the skill of Russian gunners who made a "cunning" dig under the city walls. As a smart ruler and commander, Ivan the Terrible himself is depicted in it. His folklore image is characterized by idealization. So, in one of the songs, the people bitterly mourn him as a people's intercessor: "You rise, rise, you, our Orthodox Tsar ... Tsar Ivan Vasilyevich, you are our father!" However, other features of it were also reflected in folklore: cruelty, imperiousness, ruthlessness. In this regard, Novgorod and Pskov songs and legends are characteristic. In one of the songs, Tsarevich Ivan reminds his father: “And which street you were driving, father, all the seconds, and stabbed, and planted on a stake.”

In songs about the conquest of Siberia, which existed mainly among the Cossacks, the main character is Ermak Timofeevich - a daring and courageous ataman of free people, the leader of the people. In his image, the features of the heroic heroes of the Russian epic were combined with the features of the people's leaders who fought against social injustice.

Interesting songs about the heroic defense of Pskov during Livonian War. Having been defeated, the Polish king Stefan Batory vows on his own behalf and on behalf of his children, grandchildren and great-grandchildren to ever attack Russia.

A song about Kostruk was common during the time of Ivan the Terrible. It tells about the victory of an ignorant Russian man (“a peasant peasant”) over a foreign prince Kostruk, who boasted of his strength, but became a laughingstock for the whole people.

The word "folklore", which often refers to the concept of "oral folk art", comes from the combination of two English words: folk - "people" and lore - "wisdom". The history of folklore goes back to ancient times. Its beginning is connected with the need of people to realize the natural world around them and their place in it. This awareness was expressed in the inextricably merged word, dance and music, as well as in works of fine, primarily applied, art (ornaments on dishes, tools, etc.), in jewelry, objects of religious worship ... From the depths of centuries they came to us and myths that explain the laws of nature, the secrets of life and death in a figurative and plot form. The richest soil of ancient myths still nourishes both folk art and literature.

Unlike myths, folklore is already an art form. Ancient folk art was characterized by syncretism, i.e. indivisibility of different types of creativity. In a folk song, not only words and melody could not be separated, but also the song could not be separated from the dance, the ritual. The mythological background of folklore explains why the oral work did not have a first author. With the advent of "author's" folklore, we can talk about modern history. The formation of plots, images, motives took place gradually and over time was enriched and improved by the performers.

The outstanding Russian philologist Academician A. N. Veselovsky in his fundamental work “Historical Poetics” claims that the origins of poetry lie in the folk ritual. Initially, poetry was a song performed by a choir and invariably accompanied by music and dancing. Thus, the researcher believed, poetry arose in the primitive, ancient syncretism of the arts. The words of these songs were improvised on a case-by-case basis until they became traditional, more or less stable. In primitive syncretism, Veselovsky saw not only a combination of art forms, but also a combination of genres of poetry. “The epic and lyric,” he wrote, “appeared to us as the consequences of the decomposition of the ancient ritual choir” 1 .

1 Veselovsky A. N. Three chapters from "Historical poetics" // Veselovsky A.N. Historical poetics. - M., 1989. - S. 230.

It should be noted that these conclusions of the scientist in our time represent the only consistent theory of the origin of verbal art. "Historical Poetics" by A. N. Veselovsky is still the largest generalization of the gigantic material accumulated by folklore and ethnography.

Like literature, folklore works are divided into epic, lyrical and dramatic. Epic genres include epics, legends, fairy tales, historical songs. Lyrical genres include love, wedding, lullabies, funeral lamentations. To dramatic ones - folk dramas (with Petrushka, for example). The original dramatic performances in Russia were ritual games: seeing off Winter and meeting Spring, elaborate wedding ceremonies, etc. One should also remember about small genres of folklore - ditties, sayings, etc.

Over time, the content of the works underwent changes: after all, the life of folklore, like any other art, is closely connected with history. The essential difference between folklore and literary works is that they do not have a permanent, once and for all established form. For centuries, storytellers and singers have perfected the skill of performing works. Note that today children, unfortunately, usually get acquainted with the works of oral folk art through a book and much less often - in a live form.

Folklore is characterized by natural folk speech, striking with the richness of expressive means, melodiousness. Well-developed laws of composition with stable forms of the beginning, the development of the plot, and the ending are typical for a folklore work. His style gravitates towards hyperbole, parallelisms, constant epithets. Its internal organization has such a clear, stable character that even changing over the centuries, it retains its ancient roots.

Any work of folklore is functional - it was closely connected with one or another circle of rituals, performed in a strictly defined situation.

The whole set of rules of folk life was reflected in oral folk art. The folk calendar accurately determined the order of rural work. The rituals of family life contributed to harmony in the family, and included the upbringing of children. The laws of the life of the rural community helped to overcome social contradictions. All this is captured in various types of folk art. An important part of life is holidays with their songs, dances, games.

Oral folk art and folk pedagogy. Many genres of folk art are quite accessible to the understanding of young children. Thanks to folklore, the child is easier to enter into the world, more fully feels the charm of the native

childbirth, assimilates people's ideas about beauty, morality, gets acquainted with customs, rituals - in a word, along with aesthetic pleasure, absorbs what is called the spiritual heritage of the people, without which the formation of a full-fledged personality is simply impossible.

Since ancient times, there have been many folklore works specially intended for children. This type of folk pedagogy has played a huge role in the upbringing of the younger generation for many centuries and up to the present day. Collective moral wisdom and aesthetic intuition worked out the national ideal of man. This ideal harmoniously fits into the global circle of humanistic views.

Children's folklore. This concept fully applies to those works that are created by adults for children. In addition, this includes works composed by the children themselves, as well as passed on to children from the oral creativity of adults. That is, the structure of children's folklore is no different from the structure of children's literature.

By studying children's folklore, one can understand a lot in the psychology of children of a particular age, as well as reveal their artistic preferences and level of creative abilities. Many genres are associated with the game, in which the life and work of the elders are reproduced, therefore, the moral attitudes of the people, their national traits, and the peculiarities of economic activity are reflected here.

In the system of genres of children's folklore, a special place is occupied by "nurturing poetry", or "mother's poetry". These include lullabies, pestles, nursery rhymes, jokes, fairy tales and songs created for the little ones. Let us first consider some of these genres, and then other types of children's folklore.

Lullabies. At the center of all "maternal poetry" is the child. He is admired, he is cherished and cherished, decorated and amused. Essentially, it is the aesthetic object of poetry. In the very first impressions of a child, folk pedagogy lays a sense of the value of one's own personality. The baby is surrounded by a bright, almost ideal world, in which love, goodness, and universal consent reign and win.

Gentle, monotonous songs are necessary for the transition of the child from wakefulness to sleep. From this experience, a lullaby was born. Here the innate maternal feeling and the sensitivity to the peculiarities of age, organically inherent in folk pedagogy, affected. The lullabies are reflected in a softened game form everything that a mother usually lives with is her joys and worries, her thoughts about the baby, dreams about his future. In her songs for the baby, the mother includes what is understandable and pleasant to him. This is a "gray cat", "red shirt", " a piece of cake and a glass of milk"," crane-

face "... There are usually few words-concepts in a choduel room - you

Fundamental;! Gsholpptok;

without which the primary knowledge of the surrounding world is impossible. These words give the first skills mother tongue.

The rhythm and melody of the song were obviously born from the rhythm of the rocking of the cradle. Here the mother sings over the cradle:

How much love and ardent desire to protect your child is in this song! Simple and poetic words, rhythm, intonation - everything is directed to an almost magical spell. Often a lullaby was a kind of spell, a conspiracy against evil forces. One can hear in this lullaby echoes of both ancient myths and the Christian faith in the Guardian Angel. But the most important thing in the lullaby for all time remains the poetically expressed care and love of the mother, her desire to protect the child and prepare for life and work:

A frequent character in a lullaby is a cat. He is mentioned along with fantastic characters - Dream and Sandman. Some researchers believe that the references to him are inspired by ancient magic. But the point is also that the cat sleeps a lot - so he should bring the baby sleep.

Often mentioned in lullabies, as well as in other children's folklore genres, and other animals and birds. They speak and feel like people. Giving an animal human qualities is called anthropomorphism. Anthropomorphism is a reflection of ancient pagan beliefs, according to which animals were endowed with a soul and mind and therefore could enter into a meaningful relationship with a person.

Folk pedagogy included in the lullaby not only good helpers, but also evil, scary, sometimes not even very understandable ones (for example, the sinister Buku). All of them needed to be appeased, conjured, "taken away" so that they would not harm the little one, and maybe even help him.

A lullaby has its own system of expressive means, its own vocabulary, its own compositional structure. Short adjectives are frequent, complex epithets are rare, there are many transfers.

Baiushki bye! save you

From every cry, From all sorrows, From all misfortunes: From the crowbar, From the evil man - the Adversary.

And have mercy on you, your Angel - your Guardian, From every eye,

You will live and live, Do not be lazy to work! Bayushki-bayu, L yulyushki-lyul yu! Sleep sleep at night

Yes, grow by the clock, You will grow big - You will begin to walk in St. Petersburg, Wear silver and gold.

owls of stresses from one syllable to another. Prepositions, pronouns, comparisons, whole phrases are repeated. It is assumed that the ancient lullabies did without rhymes at all, - the “bayush-naya” song kept its smooth rhythm, melody, and repetitions. Perhaps the most common type of repetition in a lullaby is alliteration, i.e., the repetition of identical or consonant consonants. It should also be noted the abundance of petting, diminutive suffixes - not only in words addressed directly to the child, but also in the names of everything that surrounds him.

Today we have to speak with regret about the oblivion of tradition, about the ever-increasing narrowing of the circle of lullabies. This is mainly because the inseparable unity of "mother-child" is broken. Yes, and medical science raises doubts: is motion sickness useful? So the lullaby goes out of the life of babies. Meanwhile, a connoisseur of folklore V.P. Anikin appreciated her role very highly: “The lullaby is a kind of prelude to the musical symphony of childhood. By singing songs, the baby's ear is taught to distinguish the tonality of words, the intonational structure of native speech, and the growing child, who has already learned to understand the meaning of some words, also masters some elements of the content of these songs.

Pestushki, nursery rhymes, jokes. Like lullabies, these works contain elements of the original folk pedagogy, the simplest lessons in behavior and relationships with the outside world. Pestushki(from the word "nurture" - educate) are associated with the earliest period of a child's development. The mother, undressing him or freeing him from clothes, strokes the little body, unbends the arms and legs, saying, for example:

Sweating goose ki - sips ki, Across - fat women, And in the legs - walkers, And in the hands - grabs, And in the mouth - a talker, And in the head - intelligence.

Thus, pestles accompany the physical procedures necessary for the child. Their content is associated with specific physical actions. The set of poetic means in pests is also determined by their functionality. Pestushki are concise. “The owl is flying, the owl is flying,” they say, for example, when they wave the child’s hands. “The birds flew, sat on their heads,” the child’s arms fly up to their heads. And so on. There is not always a rhyme in pests, and if there is, then most often a pair. The organization of the text of pestles as a poetic work is also achieved by repeated repetition of the same word: “Geese flew, swans flew. Geese flew, swans flew ... "To the pestles

peculiar playful conspiracies are close, for example: "Water from a goose, and thinness from Yefim."

Nursery rhymes - a more developed game form than pestles (although they also have enough elements of the game). Rhymes entertain the baby, create a cheerful mood for him. Like pestles, they are characterized by rhythm:

Tra-ta-ta, tra-ta-ta, A cat married a cat! Kra-ka-ka, kra-ka-ka, He asked for milk! Dla-la-la, dla-la-la, The cat didn’t give!

Sometimes nursery rhymes only entertain (like the one above), and sometimes they instruct, give the simplest knowledge about the world. By the time the child can perceive meaning, and not just rhythm and musical mode, they will bring him the first information about the plurality of objects, about the account. A small listener gradually extracts such knowledge from a game song. In other words, it presupposes a certain mental tension. So thought processes begin in his mind.

Forty, forty, the first - porridge,

White-white-sided, Second - mash,

Cooked porridge, Third - beer,

She invited guests. The fourth - wine,

Porridge on the table, And the fifth got nothing.

And the guests - to the yard. Shu, shoo! She flew away, sat on her head.

Perceiving the initial score through such a rhyme, the child is also puzzled by why the fifth did not get anything. Maybe because he doesn't drink milk? That's because the goat butts for it - in another nursery rhyme:

Who does not suck on a pacifier, Who does not drink milk, Togo - boo! - care! I'll put it on the horns!

The instructive meaning of the nursery rhyme is usually emphasized by intonation, gestures. The child is also involved. Children of the age to whom the nursery rhymes are intended cannot yet express in speech all that they feel and perceive, therefore they strive for onomatopoeia, for repetitions of the words of an adult, for a gesture. Thanks to this, the educational and cognitive potential of nursery rhymes is very significant. In addition, in the mind of the child there is a movement not only to master the direct meaning of the word, but also to the perception of rhythmic and sound design.

In nursery rhymes and pestushkas, there is invariably such a trope as metonymy - the replacement of one word with another based on the connection of their meanings by adjacency. For example, in the famous game “Okay, okay, where have you been? - At the grandmother's, with the help of synecdoche, the child's attention is drawn to his own hands 1.

joke they call a small funny work, a statement or just a separate expression, most often rhymed. Entertaining rhymes and jokes exist outside the game (unlike nursery rhymes). The joke is always dynamic, filled with energetic actions of the characters. We can say that in the joke, the basis of the figurative system is precisely the movement: “Knocks, strums along the street, Foma rides a chicken, Timoshka rides a cat - there along the path.”

The age-old wisdom of folk pedagogy is manifested in its sensitivity to the stages of human maturation. The time of contemplation, almost passive listening, passes. It is being replaced by a time of active behavior, the desire to interfere in life - this is where the psychological preparation of children for study and work begins. And the first funny assistant is a joke. It encourages the child to act, and some of its reticence, innuendo causes the child to have a strong desire to think, fantasize, i.e. awakens thought and imagination. Often jokes are built in the form of questions and answers - in the form of a dialogue. So it is easier for the baby to perceive the switching of action from one scene to another, to follow the rapid changes in the relationships of the characters. Other artistic techniques in jokes are also aimed at the possibility of quick and meaningful perception - composition, imagery, repetitions, rich alliterations and onomatopoeia.

Fables, shifters, absurdities. These are varieties of the joke-exact genre. Thanks to shifters, children develop a sense of the comic precisely as an aesthetic category. This type of joke is also called the "poetry of paradox." Its pedagogical value lies in the fact that by laughing at the absurdity of the fable, the child is strengthened in the correct idea he has already received about the world.

Chukovsky devoted a special work to this type of folklore, calling it "Stupid absurdities." He considered this genre extremely important for stimulating the child's cognitive attitude to the world and very well substantiated why children like absurdity so much. The child constantly has to systematize the phenomena of reality. In this systematization of chaos, as well as randomly acquired scraps, fragments of knowledge, the child reaches virtuosity, enjoying the joy of learning.

1 The pens that visited my grandmother are an example of a synecdoche: this is a kind of metonymy when a part is named instead of the whole.

niya. Hence his increased interest in games and experiments, where the process of systematization, classification is put forward in the first place. A changeling in a playful way helps the child to establish himself in the already acquired knowledge, when familiar images are combined, familiar pictures are presented in a ridiculous mess.

A similar genre exists among other peoples, including the British. The name "Stupid absurdities" given by Chukovsky corresponds to the English "Topsy-turvy rhymes" - literally: "Poems upside down".

Chukovsky believed that the desire to play shifters is inherent in almost every child at a certain stage of his development. Interest in them, as a rule, does not fade away even among adults - then it is no longer the cognitive, but the comic effect of “stupid absurdities” that comes to the fore.

Researchers believe that fairy tales-shifters moved into children's folklore from buffoon, fair folklore, in which an oxymoron was a favorite artistic device. This is a stylistic device consisting in the combination of logically incompatible, opposite in meaning concepts, words, phrases, as a result of which a new semantic quality arises. In adult absurdities, oxymorons usually serve to expose, ridicule, while in children's folklore, with their help, they do not ridicule, do not ridicule, but deliberately seriously narrate about a notorious unbelievable story. The tendency of children to fantasies finds its use here, revealing the proximity of an oxymoron to the thinking of a child.

A barn burns in the middle of the sea. The ship runs across the open field. The men on the street are stabbing 1, They are stabbing - they are catching fish. A bear flies through the skies, waving its long tail!

A technique close to an oxymoron that helps the shifter to be entertainingly funny is perversion, i.e. permutation of the subject and object, as well as the attribution to subjects, phenomena, objects of signs and actions that are obviously not inherent in them:

Look, the gates are barking from under the dog... Children on calves,

The village was passing by a peasant,

In a red sundress

Because of the forest, because of the mountains, Uncle Yegor is riding:

Servants on ducks...

Don, don, dilly don,

Himself on a horse, In a red hat, Wife on a ram,

The cat's house is on fire! A chicken runs with a bucket, It floods the cat's house ...

Zakoly- fences for catching red fish.

The absurd shifters attract with the comedy of scenes, the ridiculous depiction of life's incongruities. This entertaining genre turned out to be necessary for folk pedagogy, and it widely used it.

Rhymes. This is another small genre of children's folklore. Rhythms are called funny and rhythmic rhymes, under which they choose a leader, start the game or some stage of it. Rhyming rhymes were born in the game and are inextricably linked with it.

Modern pedagogy assigns the game an extremely important role in the formation of a person, considers it a kind of school of life. Games not only develop dexterity and ingenuity, but also teach to obey generally accepted rules: after all, any game takes place according to predetermined conditions. The game also establishes the relationship of co-creation and voluntary submission to the game roles. The authoritative here is the one who knows how to follow the rules accepted by all, does not bring chaos and confusion into children's lives. All this is working out the rules of behavior in the future adult life.

Who does not remember the counting rhymes of his childhood: “White hare, where did you run?”, “Eniki, beniki, ate dumplings ...” - etc. The very possibility of playing with words is attractive to children. This is the genre in which they are most active as creators, often bringing new elements to ready-made rhymes.

In the works of this genre, nursery rhymes, pestles, and sometimes elements of adult folklore are often used. Perhaps it is in the internal mobility of the counting rhymes that the reason for their wide distribution and vitality lies. And today you can hear very old, only slightly modernized texts from playing children.

Researchers of children's folklore believe that the counting in the counting rhyme comes from pre-Christian "magic" - conspiracies, spells, encryption of some magic numbers.

G.S. Vinogradov called the rhymes of counting rhymes tender, fervent, a true decoration of counting poetry. The rhyme is often a chain of rhyming couplets. The methods of rhyming here are the most diverse: paired, cross, ring. But the main organizing principle of counting rhymes is rhythm. A rhyme-rhyme often resembles the incoherent speech of an agitated, offended, or struck by something child, so that the apparent incoherence or meaninglessness of the rhymes is psychologically explainable. Thus, the rhyme both in form and in content reflects the psychological characteristics of age.

Tongue Twisters. They belong to the genre of amusing, entertaining. The roots of these works of oral art also lie in ancient times. This is a word game that was part of the compound

join the fun festive entertainment of the people. Many of the tongue twisters that meet the aesthetic needs of the child and his desire to overcome difficulties have become entrenched in children's folklore, although they clearly came from an adult.

The cap is sewn, but not in a cap style. Who would have put the cap on Pereva?

Tongue twisters always include a deliberate accumulation of hard-to-pronounce words, an abundance of alliterations ("There was a ram, white-faced, all the rams were white-faced"). This genre is indispensable as a means of developing articulation and is widely used by educators and physicians.

Undershirts, teasers, sentences, refrains, chants. All these are works of small genres, organic for children's folklore. They serve the development of speech, intelligence, attention. Thanks to the poetic form of a high aesthetic level, they are easily remembered by children.

Say two hundred.

Head in the test!

(Undercoat.)

Rainbow-arc, Don't give us rain, Give us a red sun Kol outskirts!

(Invocation.)

Mishka-pod, Near the ear - a bump.

(Teaser.)

Calls in origin are associated with the folk calendar and pagan holidays. This also applies to sentences close to them in meaning and use. If the former contain an appeal to the forces of nature - the sun, wind, rainbow, then the latter - to birds and animals. These magic spells passed into children's folklore due to the fact that children early joined the work and cares of adults. Later chants and sentences already acquire the character of entertaining songs.

In games that have survived to this day and include incantations, sentences, refrains, traces of ancient magic are clearly visible. These are games held in honor of the Sun (Kolya

dy, Yarila) and other forces of nature. In the chants and choruses accompanying these games, the faith of the people in the power of the word was preserved.

But many game songs are simply cheerful, entertaining, usually with a clear dance rhythm:

Let's move on to larger works of children's folklore - songs, epics, fairy tales.

Russian folk songs play a big role in shaping children's musical ear, taste for poetry, love for nature, for their native land. In the children's environment, the song exists from time immemorial. Children's folklore also included songs from adult folk art - usually children adapted them to their games. There are ritual songs (“And we sowed millet, sowed ...”), historical (for example, about Stepan Razin and Pugachev), lyrical. Nowadays, children often sing songs that are not so much folklore as author's. There are also songs in the modern repertoire that have long lost their authorship and are naturally drawn into the element of oral folk art. If there is a need to turn to songs created many centuries, or even millennia ago, then they can be found in folklore collections, as well as in educational books by K. D. Ushinsky.

Epics. This is the heroic epic of the people. It is of great importance in the education of love for the native history. Epics always tell about the struggle of two principles - good and evil - and about the natural victory of good. The most famous epic heroes - Ilya Muromets, Dobrynya Nikitich and Alyosha Popovich - are collective images that capture the features of real people whose lives and exploits became the basis of heroic narratives - epics (from the word "true") or old. Epics are a grandiose creation of folk art. The artistic conventionality inherent in them is often expressed in fantastic fiction. The realities of antiquity are intertwined in them with mythological images and motifs. Hyperbole is one of the leading devices in epic narration. It gives the characters monumentality, and their fantastic exploits - artistic persuasiveness.

It is important that the fate of the motherland is dearer to the heroes of epics than life, they protect those in trouble, uphold justice, and are full of self-esteem. Taking into account the heroic and patriotic charge of this ancient folk epic, K.D.Ushinsky and L.N.Tolstoy included in children's books excerpts even from those epics that, in general, cannot be attributed to children's reading.

Baba sowed peas -

Baba stood on her toe, And then on her heel, She began to dance Russian, And then squat!

Jump jump, jump jump! The ceiling collapsed - Jump-jump, jump-jump!

The inclusion of epics in children's books is hampered by the fact that they are not completely understandable to children without an explanation of events and vocabulary. Therefore, to work with kids, it is better to use literary retellings of these works, for example, I.V. Karnaukhova (collection "Russian heroes. Epics") and N. P. Kolpakova (collection "Epics"). For an older age, the collection "Epics" compiled by Yu. G. Kruglov is suitable.

Fairy tales. They originated in ancient times. For example, the following fact speaks of the antiquity of fairy tales: in the unprocessed versions of the famous "Teremok", the mare's head, which the Slavic folklore tradition endowed with many wonderful properties, acted as a teremok. In other words, the roots of this tale go back to Slavic paganism. At the same time, fairy tales testify not at all to the primitiveness of the people's consciousness (otherwise they could not have existed for many hundreds of years), but to the ingenious ability of the people to create a single harmonious image of the world, linking everything that exists in it - heaven and earth, man and nature, life and death. Apparently, the fairy-tale genre turned out to be so viable because it is perfect for expressing and preserving fundamental human truths, the foundations of human existence.

Telling fairy tales was a common hobby in Russia, they were loved by both children and adults. Usually the narrator, narrating about events and heroes, reacted vividly to the attitude of his audience and immediately made some corrections to his narration. That is why fairy tales have become one of the most polished folklore genres. They also meet the needs of children in the best way, organically corresponding to child psychology. The craving for goodness and justice, faith in miracles, a penchant for fantasies, for the magical transformation of the world around - all this the child joyfully meets in a fairy tale.

In a fairy tale, truth and goodness certainly triumph. A fairy tale is always on the side of the offended and oppressed, no matter what it tells. It clearly shows where the correct life paths of a person go, what is his happiness and unhappiness, what is his retribution for mistakes, and how a person differs from a beast and a bird. Each step of the hero leads him to the goal, to the final success. You have to pay for mistakes, and having paid, the hero again gets the right to good luck. In such a movement of fairy-tale fiction, an essential feature of the worldview of the people is expressed - a firm belief in justice, in the fact that a good human principle will inevitably defeat everything that opposes it.

In a fairy tale for children, there is a special charm, some secrets of the ancient worldview are revealed. They find in the fairy tale narrative on their own, without explanation, something very valuable for themselves, necessary for the growth of their consciousness.

An imaginary, fantastic world turns out to be a reflection real world in its main foundations. A fabulous, unusual picture of life gives the baby the opportunity to compare it with reality, with the environment in which he himself, his family, people close to him exist. This is necessary for developing thinking, as it is stimulated by the fact that a person compares and doubts, checks and convinces. The fairy tale does not leave the child an indifferent observer, but makes him an active participant in what is happening, experiencing every failure and every victory together with the characters. The tale accustoms him to the idea that evil in any case must be punished.

Today, the need for a fairy tale seems especially great. The child is literally overwhelmed by an ever-increasing flow of information. And although the susceptibility of the psyche in babies is great, it still has its limits. The child becomes overtired, becomes nervous, and it is the fairy tale that frees his mind from everything unimportant, unnecessary, concentrating on the simple actions of the characters and thoughts about why everything happens this way and not otherwise.

For children, it doesn’t matter at all who the hero of the fairy tale is: a person, an animal or a tree. Another thing is important: how he behaves, what he is - handsome and kind or ugly and angry. The fairy tale tries to teach the child to evaluate the main qualities of the hero and never resorts to psychological complication. Most often, the character embodies one quality: the fox is cunning, the bear is strong, Ivan is lucky as a fool, and fearless as a prince. The characters in the tale are contrasting, which determines the plot: the diligent, reasonable sister Alyonushka was not obeyed by brother Ivanushka, he drank water from a goat's hoof and became a goat - he had to be rescued; the evil stepmother plots against the good stepdaughter... Thus, a chain of actions and amazing fairy-tale events arises.

The tale is built on the principle of a chain composition, which, as a rule, includes three repetitions. Most likely, this technique was born in the process of storytelling, when the narrator again and again provided the listeners with the opportunity to experience a vivid episode. Such an episode is usually not just repeated - each time there is an increase in tension. Sometimes the repetition is in the form of a dialogue; then children, if they play a fairy tale, it is easier to transform into its heroes. Often a fairy tale contains songs, jokes, and children remember them first of all.

The fairy tale has its own language - concise, expressive, rhythmic. Thanks to the language, a special fantasy world is created in which everything is presented large, convex, remembered immediately and for a long time - the characters, their relationships, the surrounding characters and objects, nature. There are no halftones - there is a glu

side, bright colors. They attract a child to them, like everything colorful, devoid of monotony and everyday dullness. /

“In childhood, fantasy,” wrote V. G. Belinsky, “is the predominant ability and strength of the soul, its main agent and the first mediator between the spirit of the child and the outside world of reality.” Probably, this property of the child's psyche - a craving for everything that miraculously helps to bridge the gap between the imaginary and the real - explains this interest of children in a fairy tale, which has not been quenched for centuries. Moreover, fairy-tale fantasies are in line with the real aspirations and dreams of people. Let's remember: flying carpet and modern air liners; a magic mirror showing distant distances, and a TV.

And yet, children are most attracted to a fairy-tale hero. Usually this is an ideal person: kind, fair, beautiful, strong; he necessarily achieves success, overcoming all sorts of obstacles, not only with the help of wonderful assistants, but primarily thanks to his personal qualities - intelligence, fortitude, dedication, ingenuity, ingenuity. This is what every child would like to become, and the ideal hero of fairy tales becomes the first role model.

According to the theme and style, fairy tales can be divided into several groups, but usually researchers distinguish three large groups: fairy tales about animals, fairy tales and household (satirical) ones.

Tales about animals. Young children are usually attracted to the world of animals, so they really like fairy tales in which animals and birds act. In a fairy tale, animals acquire human features - they think, speak, and act. In essence, such images bring the child knowledge about the world of people, not animals.

In this kind of fairy tales, there is usually no distinct division of characters into positive and negative ones. Each of them is endowed with any one trait, an inherent feature of his character, which is played out in the plot. So, traditionally, the main feature of the fox is cunning, so it is usually about how she fools other animals. The wolf is greedy and stupid; in a relationship with a fox, he will certainly get into a mess. The bear has a not so unambiguous image, the bear can be evil, but it can also be kind, but at the same time it always remains a klutz. If a person appears in such a fairy tale, then he invariably turns out to be smarter than the fox, and the wolf, and the bear. Reason helps him to win over any opponent.

Animals in a fairy tale observe the principle of hierarchy: everyone recognizes the strongest and the main one. Is it a lion or a bear. They are always at the top of the social ladder. This brings the story closer

ki about animals with fables, which is especially evident from the presence in both of them of similar moral conclusions - social and universal. Children easily learn: the fact that a wolf is strong does not at all make him fair (for example, in a fairy tale story about seven kids). The sympathy of the listeners is always on the side of the just, not the strong.

There are among the tales about animals and quite scary. The bear eats the old man and the old woman because they cut off his paw. An angry beast with a wooden leg, of course, seems terrible to the kids, but in fact he is the bearer of just retribution. The story gives the child the opportunity to understand a difficult situation.

Magic tales. This is the most popular and favorite genre of children. Everything that happens in a fairy tale is fantastic and significant in its task: its hero, getting into one or another dangerous situation, saves friends, destroys enemies - he fights not for life, but for death. The danger seems especially strong, terrible because its main opponents are not ordinary people, but representatives of the supernatural. dark forces: Serpent Gorynych, Baba Yaga, Koshey the Immortal, etc. By winning victories over this evil spirit, the hero, as it were, confirms his high human principle, proximity to the light forces of nature. In the struggle, he becomes even stronger and wiser, makes new friends and gets the full right to happiness - to the great satisfaction of little listeners.

In the story fairy tale the main episode is the beginning of the hero's journey for the sake of one or another important task. On his long journey, he meets with insidious opponents and magical helpers. Very effective means are at his disposal: a flying carpet, a wonderful ball or mirror, or even a talking animal or bird, a swift horse or wolf. All of them, with some conditions or without them at all, in the blink of an eye fulfill the requests and orders of the hero. They do not have the slightest doubt about his moral right to order, since the task assigned to him is very important and since the hero himself is impeccable.

The dream of the participation of magical helpers in people's lives has existed since ancient times - since the time of the deification of nature, faith in the Sun God, in the ability to invoke light forces with a magic word, witchcraft and ward off dark evil from oneself. " "

Household (satirical) fairy tale is closest to everyday life and does not even necessarily include miracles. Approval or condemnation is always given in it openly, the assessment is clearly expressed: what is immoral, what is worthy of ridicule, etc. Even when it seems like the characters are just fooling around,

amuse listeners, their every word, every action is filled with significant meaning, connected with important aspects of human life.

The constant heroes of satirical tales are "simple" poor people. However, they invariably prevail over the "difficult" - rich or noble person. Unlike the heroes of a fairy tale, here the poor achieve the triumph of justice without the help of wonderful helpers - only thanks to intelligence, dexterity, resourcefulness, and even fortunate circumstances.

For centuries, the everyday satirical tale has absorbed the characteristic features of the life of the people and their relationship to those in power, in particular to judges and officials. All this, of course, was passed on to the little listeners, who were imbued with the healthy folk humor of the narrator. Fairy tales of this kind contain the "vitamin of laughter" that helps the common man to maintain his dignity in a world ruled by bribe-taking officials, unrighteous judges, stingy rich people, arrogant nobles.

In everyday fairy tales, animal characters sometimes appear, and perhaps the appearance of such abstract characters. actors, like Truth and Falsehood, Woe-Misfortune. The main thing here is not the selection of characters, but a satirical condemnation of human vices and shortcomings.

Sometimes such a specific element of children's folklore as a changeling is introduced into a fairy tale. In this case, a shift in the real meaning arises, prompting the child to the correct arrangement of objects and phenomena. In a fairy tale, the changeling becomes larger, grows up to an episode, and is already part of the content. Displacement and exaggeration, hyperbolization of phenomena give the baby the opportunity to both laugh and think.

So, a fairy tale is one of the most developed and beloved genres of folklore by children. It is more complete and brighter than any other kind of folk art, it reproduces the world in all its integrity, complexity and beauty. The fairy tale provides the richest food for children's imagination, develops the imagination - this most important feature of the creator in any sphere of life. And the exact, expressive language of a fairy tale is so close to the mind and heart of a child that it is remembered for a lifetime. No wonder interest in this type of folk art does not dry out. From century to century, from year to year, classical recordings of fairy tales and literary adaptations of them are published and republished. Fairy tales are heard on the radio, broadcast on television, staged in theaters, filmed.

However, one cannot fail to say that the Russian fairy tale has been subjected to persecution more than once. The church struggled with pagan beliefs, and at the same time with folk tales. So, in the 13th century, Bishop Sera-Pion of Vladimir forbade "baying fables", and Tsar Alexei Mikhailovich in 1649 drew up a special letter with the requirement

Animation to put an end to "telling" and "buffoonery". Nevertheless, already in the XII century, fairy tales began to be recorded in handwritten books, included in the annals. And from the beginning of the 18th century, fairy tales began to appear in “front pictures” - publications where heroes and events were depicted in pictures with captions. But still, this century was severe in relation to fairy tales. Known, for example, are sharply negative reviews of the "peasant's tale" by the poet Antioch Cantemir and Catherine II; largely in agreement with each other, they were guided by Western European culture. The 19th century also did not bring the folk tale recognition of the officials of the protective direction. Thus, A. N. Afanasiev’s famous collection “Russian Children’s Tales” (1870) provoked the claims of a vigilant censor as allegedly presenting to the children’s mind “pictures of the most rude self-serving cunning, deceit, theft and even cold-blooded murder without any moralizing notes.”

And not only censorship fought the folk tale. From the middle of the same 19th century, well-known teachers took up arms against her. The fairy tale was accused of being “anti-pedagogical”, they were assured that it retards the mental development of children, frightens them with the image of the terrible, weakens the will, develops gross instincts, etc. Essentially the same arguments were advanced by opponents of this type of folk art both in the last century and in Soviet times. After the October Revolution, leftist educators added that a fairy tale takes children away from reality, arouses sympathy for those who should not be treated - for all sorts of princes and princesses. Some authoritative public figures, such as N. K. Krupskaya, also made similar accusations. Reasoning about the dangers of fairy tales stemmed from the general denial of the value of cultural heritage by revolutionary theorists.

Despite the difficult fate, the fairy tale lived, always had ardent defenders and found its way to children, connected with literary genres.

The influence of the folk tale on the literary tale comes through most clearly in the composition, in the construction of the work. The well-known folklore researcher V.Ya.Propp (1895-1970) believed that a fairy tale strikes not even with fantasy, not with miracles, but with the perfection of composition. Although the author's tale is freer in plot, in its construction it obeys the traditions of the folk tale. But if its genre features are used only formally, if they are not organically perceived, then the author will fail. It is obvious that mastering the laws of composition that have evolved over the centuries, as well as conciseness, concreteness and the wise generalizing power of a folk tale, means for a writer to reach the heights of authorial art.

It was folk tales that became the basis of the famous poetic tales of Pushkin, Zhukovsky, Ershov, fairy tales in prose

(V.F. Odoevsky, L.N. Tolstoy, A.N. Tolstoy, A.M. Remizov, B.V. Shergin, P.P. Bazhov and others), as well as dramatic tales (S.Ya. Marshak, E. L. Schwartz). Ushinsky included fairy tales in his books "Children's World", "Native Word", believing that no one can compete with the pedagogical genius of the people. Later, Gorky, Chukovsky, Marshak and our other writers spoke passionately in defense of children's folklore. They convincingly confirmed their views in this area by modern processing of ancient folk works and writing literary versions based on them. Excellent collections of literary fairy tales, created on the basis of or under the influence of oral folk art, are published in our time by a variety of publishing houses.

Not only fairy tales, but also legends, songs, epics have become a model for writers. Individual folklore themes and plots have merged into literature. For example, the folk narrative of the 18th century about Yeruslan Lazarevich was reflected in the image of the main character and some episodes of Pushkin's Ruslan and Lyudmila. Lullabies created by folk motives, Lermontov (“Cossack lullaby”), Polonsky (“The Sun and the Moon”), Balmont, Bryusov and other poets have. In essence, “By the Bed” by Marina Tsvetaeva, “The Tale of the Stupid Mouse” by Marshak, and “Lullaby to the River” by Tokmakova are lullabies. There are also numerous translations of folk lullabies from other languages ​​made by famous Russian poets.

Results

Oral folk art reflects the entire set of rules of folk life, including the rules of education.

The structure of children's folklore is similar to the structure of children's literature.

All genres of children's literature have experienced and are experiencing the influence of folklore.

Publication "History of the emergence of oral folk art"

The education and upbringing of children historically arose with the development of mankind. In order to preserve themselves as a species on Earth, already primitive people were interested in transmitting young generation experience in foraging, weather protection, etc. These initial types of education and upbringing, when the child mastered knowledge, skills, skills in the process joint activities with adults, imitating them. The new generation, having taken the experience of their ancestors, used it, making improvements. Together with experience labor activity, the experience of communicating with other people was also transferred. These relations from generation to generation were fixed, developed and improved in language, symbols.

With the development of Russian folk culture, rules for the education and upbringing of children, advice and instructions, prohibitions and permissions appeared. Already in the oldest Russian chronicles, in oral folk art, especially in fairy tales and proverbs, the idea is affirmed that a person can be educated and taught, that the most valuable human quality is virtue and it must be instilled, it must be taught, because the cause of many human vices is ignorance, ignorance. Virtue is the ability to act well, and to act well, in our case, to possess communication skills.

One of the effective means of educating a person, in the family and not only, is oral folk art, as an inexhaustible source of art, the basis of folk culture, an effective means of aesthetic education of children, a proven experience of every nation. The strength of folklore as a means of family education lies in the fact that its content teaches children to distinguish between good and evil, as well as the behavior “this is possible”, “this is not”, “this is good”, “this is bad”, teaches children to give answers to different life questions.

Listening to the works of oral folk art, the child, with the help of his parents, draws conclusions about his behavior, trying to avoid the mistakes of the heroes. Children perceive folklore works well due to their humor, unobtrusiveness, familiar life situations.

Oral folk art is an invaluable wealth of the people, a view of life, society and the rules of behavior and communication developed over the centuries.

Many centuries ago, when there was no written language, oral folk art arose, performing the same role that literature later played.

For children, the people created wonderful fairy tales, songs, nursery rhymes, riddles, sayings, jokes, etc. The works of oral folk art have not lost their impact on the child today. These works reflected deep moral ideas, dreams and beliefs of the people. The fairy tale speaks simply and convincingly about the victory of good over evil, truth over lies, the triumph of justice. The positive hero of a fairy tale always wins. The fairy tale shows work as the basis of life - a hardworking hero is rewarded, a lazy one is punished. Reason, resourcefulness, courage, wisdom are glorified in the fairy tale.

Most of the songs, nursery rhymes, jokes were created in the process of working in nature in everyday life, in the family. Hence their clarity, rhythm, brevity and expressiveness. For centuries, people have been selecting and preserving, passing from mouth to mouth, from generation to generation, these little masterpieces full of deep wisdom, lyricism and humor. Thanks to the simplicity and melodiousness of the sound, children, when playing, easily memorize them, acquiring a taste for a figurative, apt word, learning to use it in their speech. This draws the depth of influence on the child of small poetic forms of oral folk art. They also have a moral influence - they awaken in the child a sense of sympathy, love for the people around him, for all living things, interest and respect for work.

With an amazing pedagogical talent, he “leads” the people of the child from simple play nursery rhymes to complex poetic images of fairy tales; from amusing, soothing lines to situations that require the tension of all mental strength from a small listener.

In the 5th grade we studied children's folklore. I became interested in lullabies and wrote about them scientific work. Another genre of folklore that caught my attention is counting rhymes. AT modern world children know few counting rhymes, there is an impoverishment of the children's subculture. That is why I wanted to know the history of counting rhymes, their development and the reasons why counting rhymes are gradually fading into the background in children's folklore.

My main goal was to compare the role of rhymes in different times and in our days. I saw my tasks as follows:

1. study the scientific literature on the topic;

2. collect counting rhymes (in scientific literature, in the gaming activities of modern schoolchildren);

3. to analyze the collected material;

4. draw conclusions.

The original hypothesis was that children these days know few rhymes, and most of them are meaningless. I was able to find an explanation for this in the scientific literature. During the work, I was convinced of the correctness of the hypothesis and that a large number of developing, educating rhymes created by children's authors are not known to children and are not used in games.

In my work, I used the following methods:

1. analysis, synthesis of the collected material;

2. observation of the games of primary school students;

3. survey of respondents.

A total of 118 people were interviewed, including children younger age- 20 people, aged 7-8 years - 58 people, aged 9-10 years - 25 people, 13-15 years old - 10 people, older people - 5 people.

19 people remember 3 or more counting rhymes, 27 people remember 2 rhymes, 72 people remember 1 rhyme.

But, unfortunately, the vast majority (67% of respondents) first of all name a rhyme that is far from being of the most moral nature (“. I took a knife out of my pocket. I will cut, I will beat.”). Children have heard and read author's rhymes, but they almost never use them in the game, because they do not remember them by heart (only 0.8% of the respondents named them). Interesting in the cognitive or moral sense, rhymes are known to 20% of the respondents, meaningless or morally not interesting - 74%. Only 19 people have counting rhymes with humor. raktera (. leniation, the vast majority (67% of respondents) first of all name a rhyme that is far from being the most moral

2. The role of folklore in human life.

The magical realm of folk art is boundless. It has been built up over centuries. There are a lot of varieties in oral folk poetry (or folklore, as international science calls this poetry). Translated into Russian English word"folklore" means "folk wisdom", "folk art" - everything that the spiritual culture of the working people has created over the centuries of its historical life. If we read deeply, think about our Russian folklore, we will see that it really reflected a lot in itself: both our native history, and the play of folk fantasy, and cheerful laughter, and deep folk thoughts about human life. People thought about how to improve their lives, how to fight for a happy share, what should be good man, and what character traits need to be condemned and ridiculed.

Numerous varieties of Russian folklore - epics, fairy tales, proverbs, calendar choruses, riddles - all this arose, repeated, passing from mouth to mouth, from generation to generation, from father to son, from grandmothers to granddaughters. Often, the performers added something of their own to the text they liked, slightly changing individual images, details and expressions, imperceptibly honing and improving the song or fairy tale created before them.

3. Children's folklore. His genres, moral influence.

Children's folklore is a vast area of ​​oral folk art. This is a whole world - bright, joyful, filled with vitality and beauty. Children look with interest at the lives of adults and willingly borrow their experience, but repaint what they have acquired. The thought of children is connected with specific images - this is the key to the secrets of children's artistic creativity.

Folklore for children, created by adults, includes lullabies, pestles, nursery rhymes, jokes, fairy tales. This area of ​​folk art is one of the means of folk pedagogy.

Both children and adults are also well aware of counting rhymes, teasers, tongue twisters and other genres of children's folklore, which are considered to be empty fun. In fact, without these cheerful and funny rhymes, without the verbal game that they contain, the child will never master his native language perfectly, will never become its worthy master, able to express any thoughts, feelings and experiences.

Rhymes, draws, songs and sentences included in the games together make up the game folklore.

Rhymes - short poems used to determine the leader or the distribution of roles in the game - the most common genre of children's folklore.

Telling or listening to rhymes gives children great pleasure. Not every child can become a good "counter". Firstly, he must have a tenacious memory, artistry, and secondly, be sure to be honest.

The fact is that counting rhymes are a way of implementing objective justice, invented for children from time immemorial. As if fate itself, and not the authority of an adult (or a ringleader-child), manages the distribution of roles. And if this is so, then winning the game with happiness and luck depends on the player himself. A child in the game must be resourceful, quick-witted, dexterous, kind and even noble. All these qualities in the children's mind, soul, character are developed by a rhyme.

4. The main artistic features of counting rhymes.

The counters have two main features. Firstly, most counting rhymes are based on counting, and secondly, counting rhymes amaze with a heap of meaningless words and consonances. Why did people need a distorted form of words and what was hidden under the habit of using a mysterious account?

A whole group of ancient concepts and ideas is associated with the account of people. It can be assumed that in the old days, when entrusting someone with a common task, people showed extraordinary discretion in numbers. Will the person who carries out the task be happy or unhappy? Before hunting or other fishing, the score decided a lot. A person with an unlucky number could ruin, according to people, the whole thing. This is the purpose of the ancient reckoning. This function of his was preserved in a residual form in children's games.

The simplest form of counting rhymes and, apparently, primordially ancient, can be recognized as a “bare” account. Because of the ban on counting, people had to use conditional forms when counting. So, the inhabitants of the Irkutsk province were forbidden to count the killed game, otherwise there would be no luck in the future; Russians living in Transbaikalia were forbidden to count geese during the flight. The ban on counting was a great inconvenience, and people came up with the so-called “negative” count: a negative particle was added to each numeral: more than once, not twice, etc. It turned out that there was no count. This is the purpose of the distorted form of the account. People also hid the drawing of lots - the recalculation necessary for the distribution of the roles of participants in the fishery. The recount - the prototype of the newest forms of counting rhymes - was given a conditional verbal form that was understandable to the people of this group. This is the origin of the "abstruse" account, an example of which is the children's rhyme.

Over time, breaking away from prohibitions and faith in numbers, the counting rhyme began to develop in its own special way. New, purely artistic elements were introduced into it. Distorted words began to be invented in consonance with the old ones, without any connection with the conditional allegorical speech of antiquity. The formation of new words in counting rhymes lost its former meaning and often took the form of pure nonsense.

Nonsense could not live long in folklore, and meaningful disparate phrases began to penetrate into the rhyme, individual words. Some content was woven from the words, and soon “plot” provisions appeared.

One of the main features of counting rhymes is a clear rhythm, the ability to shout all the words separately. For children aged 5-6 years, this is a particular pleasure due to the constant requirement of adults to “keep quiet”. Hearing the rhythmic pattern of a counting rhyme and obeying it is not an easy skill. It is acquired by children only in the game. The more reckless the game, the more desirable it is for the child to be elected, the more acutely the children listen to the rhythm of the counting rhyme.

This whole cheerful rhyme is built on onomatopoeia - another feature of counting rhymes. Remember the counting rhyme "Aty-bats, there were soldiers." Its clear rhythm resembles the step of a soldier's company.

5. Classification by content, artistic features, moral meaning.

The most common type of folk rhyme is intended directly for calculating the players. If you need to determine who drives when playing hide-and-seek or tag, then they think so.

A large group of counting rhymes indicates those who will participate in the game. The last one remaining after the calculation leads.

This type of counting rhymes includes those where there is no direct verbal indication of the driver or the way out of the calculation. It is replaced by the last expressive word. In this group, meaningless counting rhymes stand out, with an absurd plot and sound combination.

The next group of counting rhymes - game - is intended both for calculation and for the game. It is these counting rhymes that end with questions, tasks, instructions and other requirements.

The requirements of the rhyme are varied and rarely repeated. For example, in the counting rhyme “They sat on the golden porch. ” you need to correctly answer the question “Who are you?”

To win, you need to remember exactly where the calculation began, quickly count your place in the circle and shout out right word or number. Then the re-calculation will have to be on you, and not on another.

There are counting rhymes where the winner by calculation gives his right to leave the circle to a friend, and he himself remains for new tests.

I would like to pay special attention to literary author's counting rhymes. They are meant for the most part for reading, not for calculation. They offer both child and adult intellectual game- to recognize in the counting rhyme its folk prototype, to catch the similarities and differences, the author's irony at the moments of attraction and repulsion from the folklore sample.

The author's rhyme is always action-packed, dynamic, full of bright pictures replacing each other and this reminds of a nursery rhyme. The task of the poet is to captivate the child with action so much that he wants to “finish” the line himself, to predict what will happen next. And the talent of the master is to make the child make mistakes and rejoice at his mistake, because the poet came up with something more interesting, witty, more fun.

What groups are counting rhymes in the scientific literature divided into?

In the monograph by G. S. Vinogradov “Russian children's folklore. Playing Preludes" a classification of children's folklore was undertaken, in particular, rhymes, which are based on vocabulary. Vinogradov attributed to counting rhymes verses containing counting words (“one, two, three, four, we stood in the apartment”), “abstruse”, distorted counting words (“primary-drugins, pigeons flew”) and equivalents of numerals (“ anzy, dvanzy, three, kalynzy"). To the abstruse Vinogradov attributed the counting rhymes, wholly or partially consisting of meaningless words; to substitution counting rhymes - verses that do not contain either abstruse or counting words.

This classification remains relevant to this day.

The material collected by us allows us to make additions to this classification.

In terms of content, we found the following groups:

1. Rhymes with moral meaning, educating. They teach truthfulness, kindness, caution, and obedience.

2. Cognitive rhymes that broaden your horizons. From them, the child receives knowledge about the world around him, about its inhabitants, nature, phenomena.

3. Unfortunately, we also had to deal with counting rhymes, where obscene vocabulary is found.

In total, we collected 72 rhymes, of which 9% are rhymes with moral meaning, 26.5% are cognitive rhymes, 19% are meaningless, 1.5% are immoral, 31% are rhymes with meaning, but do not teach anything, 7% - counting rhymes with a humorous form, 6% - with a poetic form.

6. Conclusions on the topic.

Getting started, we assumed that the modern typical child knows fewer rhymes than people of the older generation, since children play less in groups without adult supervision. Scientists say that today we can state the fact that there is an impoverishment of the children's subculture.

But the data obtained literally surprised us. A total of 118 people were interviewed, including 20 young children, 58 people aged 7-8, 25 people aged 9-10, 10 people aged 13-15, and 5 people older.

Out of 98 people, 19 people remember 3 or more counting rhymes, 27 people remember 2 rhymes, 69 people remember 1 rhyme, and not a single 3 people remember.

It turned out that people of the older generation remember the counting rhymes most of all (they played more), as well as younger schoolchildren, because for them it is a living genre.

But, unfortunately, the vast majority (67% of respondents) first of all name a rhyme that is far from being of the most moral nature (“. I took a knife out of my pocket. I will cut, I will beat.”). Children have heard and read author's rhymes, but they almost never use them in the game, because they do not remember them by heart (only 0.8% of the respondents named them). Interesting in the cognitive or moral sense, rhymes are known to 20% of the respondents, meaningless or morally not interesting - 74%. Only 19 people have counting rhymes with humor.

We believe that our study allows us to draw conclusions about the insufficient attention of educators to joint children's games, to the promotion of the best folklore and author's rhymes among young children.

Old Russian literature appears with the emergence of the state, writing, and is based on Christian book culture and highly developed forms of oral poetry. Folk epic 1 plays the greatest role in its formation: historical legends, heroic tales, songs about military campaigns. The princely squads in Ancient Russia made numerous military campaigns, had their own singers who composed and sang glory songs in honor of the winners, called the prince and the soldiers of his squad. Folklore for ancient literature was the main source that gave images, plots, through folklore the artistic poetic means of folk poetry penetrated into it, as well as the people's understanding of the world around.

Folklore genres were part of literature in all periods of its development. Writing turned to such genres of folk art as legends, proverbs, glories and laments. Both in writing and in folklore, especially in chronicle writing, old traditional figurative expressions, symbols, allegories were used. Many legends in the annals are close to epics in their motives, they use, as in the folk epic, poetic images of giant enemies, terrible monsters, with which heroes enter into a duel, images of wise women. Even in historical genres calls, glorifications, laments are close to folk poetry. Characteristic for literary and folklore connections and proximity to the heroic epic. The image of Boyan, the singing of glory to the princes, the song and rhythm of the system, the use of repetitions, hyperbole, the relationship of the images of heroes with epic heroes, the widespread use of folk poetic symbolism (the idea of ​​a battle as sowing, threshing, a wedding feast) is typical for ancient Russian literature. Comparisons of heroes with a cuckoo, an ermine, Bui-Tur are close to symbolic images. Nature in ancient literature, as in folk poetry, mourns, rejoices, helps heroes. The motif of the transformation of heroes, as in fairy tales, into animals and birds is characteristic. The same expressive and visual means are used: parallelisms 2 (“the sun shines in heaven - Igor prince in the Russian land”), tautology 3 (“trumpets blow”, “bridges to bridge”), constant epithets (“greyhound horse”, “black earth” , "green grass"). The speech of the heroes is allegorical, the pictures of visions are symbolic. The presence of artistic means in individual works indicates their proximity to the folk poetic system. The connection with folklore is palpable in almost every work of ancient literature, somewhere they are more noticeable, somewhere less. Some genres are close to the song lyrical genres of folk poetry - these are glories and laments, they contain folk language, folk images and intonation (“oh, light bright and redly decorated”).

In the 16th and especially in XVII centuries ancient literature is getting closer and closer to folk art. This is explained both by general socio-historical factors in the development of the Russian state, and by the peculiar character of the literature of that time. A new democratic reader appears - a peasant, a peasant, a merchant's son, a service man. Literature itself becomes more democratic and moves away from the canonical norms that restrain its development. It develops a secular beginning. The writer now has greater freedom of artistic creation, the right to fiction. New genres appear: everyday and satirical stories, new themes, new heroes. Ancient scribes in their works use a living colloquial language and more widely refer to folklore. Satirical everyday stories represent the processing of fairy tales, close to folk poetry in the depiction of characters, comic situations, reminiscent of fairy-tale comedy.

Proximity to folklore is also reflected in the depiction of the characters. So, the name of Ersh Ershovich resembles fairy-tale names - Voron-Voronovich, Sokol-Sokolovich, Zmey-Zmeevich. As in folk tales, ancient literature presents the image of a poor, but resourceful and cunning peasant who deceived the judge ("The Tale of the Shemyakin Court"). Also in the literature of this time, the plot of the work is taken from folk Russian lyrical songs (“The Tale of Woe-Misfortune”), where Grief pursues married woman or good fellow. The name itself is popular. The images of Grief and Well done are created in the traditions of folk art: the same artistic techniques - parallelisms, constant epithets, comparisons that are present in folklore works. The verse is close to epic.

Many ancient writers were very close to the art of the spoken word. Old Russian narrative literature correlated with the genres of folk art.

In the Middle Ages, folklore supplemented literature; these were, according to V.P. Adrianov-Peretz, "two closely coupled regions" 4 . The system of literary genres was supplemented by a number of folklore genres and existed in parallel with folklore genres. However, there is a deeper connection between folklore and ancient literature: traditional images, comparisons, metaphors go back to common genetic roots.

Ethnographic features are an essential element of Old Russian literature and many of its genres. They appear in the annals, in the description of the life of peoples, estates, tribes, their customs, beliefs, as well as in the description of localities and nature with the help of ethnographic signs, terms and concepts (“the Russian land is the Polovtsian land”, “horses neigh near Suzdal, victories ringing in Kyiv). Ethnographic details are also noticeable in the description of military attributes 5 - banners, banners, banners, military customs, training, preparation for battle, going on a campaign. Ethnographic elements reflect real historical events, enhance the plausibility of the depicted, saturate the work of art with everyday and battle paintings of Russia in the 11th-17th centuries.

The formation of ancient literature was facilitated by oral speech and business writing. They penetrated the artistic texts of ancient literature. Conciseness, precision of expressions oral speech and business writing contributed to the development of the plot and style of presentation in the literary monuments of Ancient Russia.

The main keepers and copyists of books were monks. Therefore, most of the books that have come down to us are ecclesiastical in nature. ancient literature combines secular and spiritual beginnings. In many genres, there is often an appeal to God as a “savior”, “almighty”, relying on his mercy .... Mention of divine providence and destiny, a sense of the world in its dual essence, “real and divine”, is characteristic of this literature. The works of ancient writers include fragments of monuments of Christian book culture, images from the Gospel, the Old and New Testaments, Psalms. After the adoption of Christianity, the ancient Russian scribes needed to be told about how the world works from a Christian point of view, and they turned to the books of Holy Scripture.